Acción política, plástica y música: Bruma de Jorge Horst
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Escuela de Bellas Artes
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Este artículo estudia la acción política en el contexto de una obra
musical que a su vez se relaciona con la pintura. En la pieza Bruma (2003),
del destacado compositor rosarino Jorge Horst (1963), se articulan elementos
ideológicos con estrategias compositivas que surgen de la intención de
“crear una analogía sonora, homenajear, metaforizar, transliterar, crear
intertextualidades varias” con el “carácter irreverente, totalmente subversivo”
de la estética de Joseph Mallord William Turner. La metodología aplicada
combina el análisis comparativo música-pintura, tomando en cuenta los
escritos del compositor, con una reflxión teórica que incluye textos de Adorno,
Wagner, Hegel y Kandinsky acerca de las fronteras entre las artes y deriva en
las posibles implicancias políticas de los conceptos de figuración y abstracción.
This article approaches political action in the context of a particular piece of music, which is also connected to painting. In Bruma (2003), by the composer Jorge Horst (Rosario, 1963), ideological elements are articulated with compositional strategies tending to “create a sound analogy, pay homage, metaphorize, transliterate, create various intertextualities” with Joseph Mallord William Turner’s aesthetic, perceived by the composer as “irreverent, totally subversive in character”. The applied methodology combines comparative analysis between music and painting, observing the composer’s writings, with a theoretical discussion that includes texts by Adorno, Wagner, Hegel and Kandinsky concerning the frontiers between the arts and pondering about the possible political implications of figuration and abstraction.
This article approaches political action in the context of a particular piece of music, which is also connected to painting. In Bruma (2003), by the composer Jorge Horst (Rosario, 1963), ideological elements are articulated with compositional strategies tending to “create a sound analogy, pay homage, metaphorize, transliterate, create various intertextualities” with Joseph Mallord William Turner’s aesthetic, perceived by the composer as “irreverent, totally subversive in character”. The applied methodology combines comparative analysis between music and painting, observing the composer’s writings, with a theoretical discussion that includes texts by Adorno, Wagner, Hegel and Kandinsky concerning the frontiers between the arts and pondering about the possible political implications of figuration and abstraction.
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